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A brief review of the significance of the hand in the mythology, folklore, and religion of Ireland from ancient times is presented. Many of these accounts are also found in the history and legends of other Celtic countries.
In a depth process the unconscious presents images of destruction. In my analytic work with a female Mexican artist, the themes of destruction and creation alive in her psyche echo the motifs of the pre-Hispanic myth of Coyolxauhqui. I will illustrate the mythological amplifications of the patient's personal material with illustrations of her paintings. I will also discuss how this myth operates in a male patient, and between the masculine and feminine in Mexican culture. Similar images by the German artist Anselm Kiefer refer to the dismembering of the newly discovered lands and government violence against the youth of Mexico.
Based on Jung's definition of archetype the concept 'archetypal story pattern' is developed as well as a research method drawing on narrative analysis and biographical research to identify these archetypal story patterns in life stories. Jung pointed out that personal myths, archetypal patterns found, e.g., in mythology, can govern the life course of individuals unconsciously. In the Theory of Narrative Identity comparable concepts have been mentioned but were never fully developed. In my research I try to combine Jung's concept of the archetype with the elaborated methodology of narrative analysis. Archetypes can manifest as narratives and the identity construction of a person via narrating the life story can be influenced or even totally structured by archetypal stories which give a specific form as well as a specific meaning to the person's identity. The method of extracting an underlying archetypal pattern from an autobiographical narrative is demonstrated. The results of the research on 20 autobiographical interviews and the inherent archetypal patterns are summarized. The major aim of this paper is to describe in detail the application of a well established method of the social sciences on a key concept of Jungian psychology to show that these concepts can be integrated into recent research frameworks of academic sciences. On the other hand it shows that Jungian concepts can be investigated through established and well defined research methods in empirical research settings.
Protective family scripts prescribe interaction that the family believes is needed to avoid potentially dangerous scenarios. Certain family legends provide moral tales that illustrate these dangers and hence reinforce these scripts. Together they contribute to family mythology. In the absence of adequate research data about specific effects of particular interventions, the therapist has to rely on his or her own beliefs about what works to change unhelpful family beliefs and interaction patterns. This essay examines the interplay between the two belief systems by exploring one of the author's own family legends and then seeing how its injunctions have been played out in his family therapy practice, thereby illustrating how myths and protective practices may be set up within the field of family therapy and its training.
Until recently, the role of scientists in society has been considered sacrosanct. Wherever scientists had been involved in crimes, either the crimes or the quality of science was denied (that is, the science was considered merely pseudoscience). As a result it has been claimed that science can only flourish in democracies but is doomed in other states. So far experience contradicts this opinion. In this paper I discuss the origins of the view that scientists and geneticists in particular, are sacrosanct. I trace it back to the earliest mythological scientists, such as Daedalus and Dr. Faustus. I view the well-known Dr. Mengele as a successor in this tradition.
Many artists have used the symbol of salt in both religious and profane works, yet very few studies have explored the symbolism of salt as used in works of art. In this study, Panofsky's method has been adopted to evaluate works of art through an organic process articulated into three stages: (1) pre-iconographic, (2) iconographic and (3) iconological. The method was used for (a) religious paintings of the Old and New Testaments and (b) mythological and profane themes. Various salt-cellars were also studied. In particular, the paper examines the following themes: Isaac blessing Jacob, the return of Esau, Samuel consecrating David, the Last Supper, the suppers at Emmaus and at the house of Simon, the birth of St. John the Baptist, the Baptism of Constantine, the prodigal son, Bacchus-Apollo, the nuptial banquet of Love and Psyche, the death of the Cavalier of Celano, the king drinks, the landlord's visit, 'Phitopolis faisant servir des mets en or au roi Pithès', certain still life paintings and various salt-cellars including those of Cellini and Giulio Romano. The paper discusses the works of many artists including Raphael, Leonardo and his school (Boltraffio, Giampietrino, d'Oggiono, Solario), Hendricksz, Corenzio, Jean-Baptiste and Philippe de Champaigne, Damaskinos, Tintoretto, Titian, Romanino, Rubens, Bellini, Bloemaert, Veronese, Sustris, Just of Ghent, Jan Van Hemessen, Poussin, Loir, Giotto, Jordaens, Brueghel and Mimmo Paladino with his enchanted mountain. From the data examined it emerged that salt is a primary iconological presence in various works of art.
It is tentatively proposed that fragments of certain early perceptual experiences of the parental objects such as the sight of the face and the breast of the mother, the smiling or angry expression of the face, the pleasing or disagreeable character of the voice, the soft touch or rough handling, the sight of the hands may occasionally be recoverable in the course of analysis. Some mythological figures and religious symbols may also hark back to similar motifs. The relation of this material to early modes of perception and the beginnings of object relations is examined. The data are correlated with the findings of child observation and of modern experimental psychology.
"Ondine's curse" is a term used to denote a rare neurological condition causing failure of automatic respiration. The patients are no longer capable of breathing spontaneously-they must consciously and voluntarily force themselves to do so. Ondine (also known as "Undine"), a mythological figure of European tradition, was a water nymph or sprite who could become human only when she fell in love with a mortal man. However, if the mortal was unfaithful to her, he was destined to forfeit his life. In the 16th century, Paracelsus coined the term "Undine" to describe the spirit that inhabited the element of water. Baron de la Motte-Fouque wrote the story of Undine in the late 18th century. It has since become a popular subject for theater productions. Jean Giraudoux, the French playwright, introduced the concept of the loss of automaticity of all functions as the "curse of Ondine." The legend was popularized in the form of the fairy tale "The Little Mermaid" by Hans Christian Andersen and as an animated motion picture by Walt Disney Productions. In this study, we look at the origins of this eponymous term, the personalities intertwined with its popularity, and its misrepresentations in the medical literature.
Given the paradox of the success of modern medical technology and the growing patient dissatisfaction with present-day medicine, critics have called for a reevaluation of contemporary medical practice. This paper offers a phenomenological analysis of traditional Navajo healers and their ceremonies to highlight key aspects of healing. A phenomenological view of medical practice takes into account three key features: the lifeworld, the lived body, and understanding. Because of their closeness to a phenomenological view, traditional Navajo mythology and healing practices offer insight into the healing process. Contemporary physicians can appreciate the phenomenological elements of Navajo healing ceremonies, including the Mountain Chant. Navajo healers help patients make sense of their illnesses and direct their lives accordingly, an outcome available to contemporary practitioners, who are also gifted with the benefits of new technologies. By examining scientific medicine, Navajo healing practices, and phenomenology as complementary disciplines, the authors provide the groundwork for reestablishing a more therapeutic view of health.
The relationship between the Greek goddess Athena and her father Zeus, together with the competitive hostility she displays towards other females, is presented as illustrating some previously neglected aspects of triangular developmental conflicts in the little girl. Literature on "the Oedipus complex in the female" is reviewed and discussed. The mythological early histories of both Athena and the female monster Medusa are examined for the light they can shed on female developmental vicissitudes and resultant conflicts in both women and men. Unconscious split representations of women as assertive, phallic and dangerous, or alternatively passive, castrated and receptive result in defensive repudiation of the idea that a woman can be both actively assertive and also feminine and sexual. Athena's enraged action of transforming the beautiful young maiden Medusa into a monster as punishment for the "crime" of having been raped in her temple is discussed as illustrating an outcome of the lack of resolution of the little girl's early triangular conflicts.
Cesarean sections rates have increased considerably in high- and middle-income countries in recent years. In Latin America the rates of surgical births reached 30% in Brazil, 40% in Chile, and 36% in Mexico. This essay describes the relationship of cesarean section with several mythological characters, presents a brief history of surgical births, and discusses the possible origin of its explosive increase. Among the factors associated to this epidemic we can mention economic incentives, a mounting supply of specialists, and the lack of comprehensive information on birth alternatives for pregnant women. The essay concludes with a call for a generalized control of this procedure based on evidence gathered through different kinds of interventions.
The course of childbirth care practice in England and in the United States of America can be described by focusing on the relationship between the incipient nursing profession and the traditional profession of midwife, throughout the XVIIIth and the XIXth centuries. This paper proposes the study of such a relationship by adopting the Greek mythology goddesses as archetypical figures of female behavior. It relates the nurse to the goddess Athena, protector of the arts, the cities, the patriarchal values, the status quo-the personification of the father's daughter archetype-and the traditional midwife to Artemis, goddess of the hunt and the moon, protector of the wilderness, the weak, and the young-the personification of the great sister archetype. Under such a perspective, it deals with the decline of the traditional midwife practice in those countries. Finally, it poses the question of the obstetrics nursing pattern as something to be constituted in conformity and in complicity with the women's organized movement and their claims in the field of health.
Developmental antecedents of adult behavior are described for four matched groups of chronic drug users (cocaine, amphetamine, opiates, barbiturates, and sedative-hypnotics) and a comparable group of nonusers, each group having been studied intensively for approximately 1.5 years. Integration is provided by a theory that views psychological development as a series of ego transformations, which appear metaphorically in legend and mythology as dragon fights. Each group is characterized theoretically by a core conflict, an upper limit on individuation, and a typical character. Results imply that radically new approaches to psychological treatment may be needed, especially for chronic users of barbiturates, opiates, and cocaine.
The loss of control, the misjudgment of events, and the lack of vigilance were among the effects of drunkenness that the Ancients perceived as being particularly harmful. The sexual behavior was mainly affected by the loss of control: rape, incest, and fulfillment of a tragic oracle were examples of the ruinous outcome of drunkenness. Excessive drinking, besides the intervention of a good, was considered responsible for a temporary loss of judgment, which could be fatal for the drinker. Finally, several mythological examples were provided to support the view that drunk people were harmless in front of the enemy.
Today, two serpent motifs are commonly used to symbolize the practice and profession of medicine. Internationally, the most popular symbol of medicine is the single serpent-entwined staff of Asklepios (Latin, Aesculapius), the ancient Greco-Roman god of medicine. However, in the United States, the staff of Asklepios (the Asklepian) and a double serpent-entwined staff with surmounting wings (the caduceus) are both popular medical symbols. The latter symbol is often designated as the "medical caduceus" and is equated with the ancient caduceus, the double serpent-entwined staff of the Greco-Roman god Hermes (Latin, Mercury). Many physicians would be surprised to learn that the medical caduceus has a quite modern origin: Its design is derived not from the ancient caduceus of Hermes but from the printer's mark of a popular 19th-century medical publisher. Furthermore, this modern caduceus became a popular medical symbol only after its adoption by the U.S. Army Medical Corps at the beginning of the 20th century. This paper describes the ancient origin of the Asklepian and how a misunderstanding of ancient mythology and iconography seems to have led to the inappropriate popularization of the modern caduceus as a medical symbol.
Robert Graves is a poet-mythographer, well-known in the U. K. and the U. S. A., but not in Japan despite his huge amount of poetic, mythographical, prose and critical works. Furthermore, even in the U. S. A. and the U. K., some people have been shunning him politely as a versatile iconoclast possessed of the White Goddess. In fact, it is not difficult to imagine that when King Jesus, a life story of Christ, was published, people were shocked at his extraordinary mythographical Christology derived from his enthusiasm towards the White Goddess Cult. In Christ he discovered the fragments of maternal doctrine as a new concept in opposition to the Apollonian theory of Judaism, but they seemed to be quite incomplete in the author's eyes lacking in something most essential in life, recognition of love and hatred discipline. This paper is an inquiry into how the author developed his own hermaneutics of Christ through his wide and thorough scholarship on mythology, history, the Bible and Celtic poetry.
We investigated the meaning and the roots of the snake's usage as a symbol of medicine, the medical profession, toxicology and toxinology by examining mythological, archeological data and a variety of texts from the ancient Greek world. The snake figure was associated with Asclepios, the ancient Greek God of medicine, and possessed benevolent properties. It was believed to be able to cure a patient or a wounded person just by touch. The snake is also connected with pharmacology and antisepsis, as snakes possess an antivenom against their own poison. The snake is related to sciences associated with poison and death, such as toxicology and toxinology, and it also implies a metaphysical idea. It is connected with the underworld, not only because it crawls on the ground, but because it can bring death, connecting the upper with the underground world. The ability of the snake to shed its skin has been associated with the circle of life, and the renaissance spirit also, ever since early Hellenic antiquity. Consequently, as a symbol of the modern medical profession, toxicology and toxinology, the snake twisted around a stick or the snake beside a pharmapeutic cup, which also implies the use of medicines or even poison, has its roots in the ancient Mediterranean area as proven by the archeological data combined with literary references. Its benevolent as well as its poisonous properties could be paralleled by the similar properties of medicines.
The description of "Shennong tastes all kinds of herbs and encounters seventy kinds of toxic substances in a single day" is a legend in Chinese medical history, demonstrating that medicine is originated from practice. This description has been interpreted as a semi - mythological legend. In fact, the description has a true and primitive background. Among them, the "day" and "seventy" bear specific implication and deep historical and cultural connotation. As time progresses, the fading of history will be even more deified. Hence, this phenomenon should arouse attention during the study of medical history.